The work is dedicated to the formation of harpsichord art in Ukraine in the second half of 20th century in the socio-cultural conditions of that time as well as to challenges posed to the performers of harpsichord old music. The work consists of three parts. The first chapter "Preconditions for the formation and the problems of harpsichord art research" consists of three subsections. Subsection 1.1. "Harpsichord art as an object of modern musicological and cultural studies" is based on the analysis of musicological and culturological works of native and foreign scholars and discovers the condition of the problem's scientific development. It is noted that the process of theoretical understanding of harpsichord art in Ukraine had started simultaneously with this phenomenon in Russia in the second half of 20th century. It is shown that the process of researching old music in Ukraine began only in the 60s along with the tendency of Ukrainian scientists to revive the national musical heritage. Subsection 1.2. "Theoretical discourse into old music from the 17th to late 19th - early 20th centuries" observes the formation of historical and theoretical approaches to understanding old music, the preparation for its revival in the end of 19th - early 20th centuries. On the background of many artistic and aesthetic theories of the 17th century, there was formed a new, historical approach to understanding the art of the past, which found its place in the classical German aesthetics. Analyzing the socio-political events in Europe in late 18th - early 19th centuries, the reasons why old music was neglected are explained, and the preconditions for the process of its rebirth are rationalized. Subsection 1.3. "Wanda Landowska and her role in the discovery of old music" is dedicated to W. Landowska - an outstanding Polish pianist and harpsichordist, who was credited with her deep research in the field of old music and returning this music to the treasury of the 20th century spiritual culture. The second chapter "The ways of harpsichord art formation in Ukraine in the second half of the 20th century" consists of three subsections. Subsection 2.1 "Harpsichord as a supplementary branch of organ art" analyzes the preconditions for the formation of Ukrainian organ school, which's basis was set by the outstanding artists, immigrants from Ukraine - I. A. Braudo and L. I. Roizman. Subsection 2.2 "The place and role of harpsichord in chamber music in the 60-70s of the 20th century" reveals the role of harpsichord in the musical life of the society and the way it entered into musical practice. It is shown that the listeners' attention to old music has rapidly increased in the late 60s. The subsection also views the contribution of chamber ensembles led by of A. Sharoev and I. Blazhkov, student orchestras of Lviv, Kiev and Odesa into the development of harpsichord art in Ukraine in the second half of the 20th century. Subsection 2.3 "Fundamentals of harpsichord pedagogy in the 70-90s" shows the way of forming professional harpsichord art in the Soviet Union. Major forms of this process are defined: study-courses in the specialty "harpsichord" at the Gnessin State Musical and Pedagogical Institute (Moscow), master-classes led by Professor of the Prague Academy of Music, a renowned Czech harpsichordist Zuzana Ruzickova at Jazeps Vitols Latvian State Conservatory. The result of this activity was opening the specialty "harpsichord" in that institution with the assistance of Professor V. Krastins, as well as the Ministry of Culture of Latvia. The third chapter "Particularities of harpsichord art development in Ukraine in late 20th century" consists of three subsections. Subsection 3.1. "Concert-enlightening activities in Ukraine in the 80-90s in the aspect of professional harpsichord performance development" highlights its leading directions. It is noted that in the late 80s, as a result of gradual revival of the interest in old music, the process of forming a professional harpsichord performance took place in Ukraine. Opening the Republican House of Organ and Chamber Music in Kyiv has started the formation of a powerful center of old music in Ukraine. Section 3.2 "Specificity of producing Ukrainian harpsichords" gives facts of musical instruments manufacture on the territory of Ukraine. It is noted that the revival of old music in the 20th century has drawn of attention not only to the music itself, but also to instruments that can reproduce the sound most corresponding to the original musical material. It is proved in the work that the first harpsichord master in the USSR was A. Zayaruzny, who made a significant contribution to the production of old musical instruments. Due to the activity of "The Tone" laboratory at the Kiev State Art-Industrial Complex under the patronage of the Ministry of Culture and Arts of Ukraine, it became possible to manufacture the instruments of harpsichord type in Ukraine. Subsection 3.3. "Ukrainian harpsichord relations with the former republics of the USSR, countries of Europe and USA," states that in the second half of the 20th century, harpsichord art took an important place in the cultural and artistic life of society in Ukraine, Russia, the Baltic, Belarus, Moldova and other former republics of the Soviet space. The countries of Eastern and Western Europe, USA are continuing to successfully develop this process, deepening the scientific basis and performing practice.
